Steve Stockman's Blog

How do people become movie directors? Do you have to work your way up through the ranks?

How long does it take?

–Shiraz, New York

The path to becoming a movie director can seem confusing for people trying to break in mostly because– it is. There’s no test you can take, no one who stamps your report card “ready” and points you to the hiring office (which there also isn’t one of.) In fact, there’s no single right way to get your first feature directing gig– everyone’s story is different.

But from hearing many stories from peers, I think there are two guiding principles to getting to direct a movie:

First, you have to be ready. You need to know how the job goes, have practiced, and created work people can look at. You need to know your craft. You can do that by working on sets and getting your pro friends together on a weekend, or you can make pretty great looking films with your phone. Seems easy, but it still takes a takes a lot of work, trial and error, and commitment.

While there’s no “official” path, most feature directors started in web, tv, commercials, or music videos. But anything works as long as you end up with a portfolio of your work. Something people can look at, that you can discuss with them in a meeting. That will give them confidence in giving you their time, money or support for your film(s).

The second principle: nobody will “let” you direct. You have to make yourself the director. Directing a feature isn’t about asking for permission. It’s about standing up and saying “I would like to direct now, and here’s why you I deserve your support.”  How?

If you write (or buy) an amazing screenplay, you can tell the financiers or studio, “You can only have this script if I direct.” If they want your script badly enough, then you are the director.

Or if you have a relationship with a woman who was in your acting class 10 years ago and you both absolutely loved collaborating and now she is a famous actor, you can say  “I brought this script I acquired to Jennifer Lawrence, who loves it, and the only way the film gets made is if I direct.” If they want Jen and the script, you are now the director.

Or if you become so good and hot (i.e. well known, exciting and expensive) in whatever TV or Web Videos or Music Videos or Commercials you’ve been directing that producers and executives want that “thing” you’ve got– then you are the director.

Or you can bring money to the table– “I’ve raised 3 million for this script I’ve acquired. I will be directing.” Done.

Putting these two principles to work goes like this:

When you’ve got the portfolio that proves you can direct, ask yourself:

Do I have the talent to make this movie? (your own, of course, but Jennifer Lawrence’s attachment helps too.)Is my script good enough to attract an audience?Will studios or friends or financiers see in my previous work a reason to invest the money?What can I do to upgrade my answers?

The better you do on each element, the more likely it is that your film will get made and you will be the director.

The one thing I can’t help you with is how long it takes. I’m a committed “destination” guy, so I’ll spare you the “journey-not-the-destination” speech. But I can promise you that the “overnight successes” you see score with their first films worked on their craft– and their portfolios– for years before they got to direct their first feature.  I know I did.

(hmmm…maybe it is about the journey.)

 

Steve Stockman

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“I am thirteen years old, and film-making is my hobby.

As you say in your book, actors are 85% of directing a film, and I love telling stories with my movies, so I feel like I need actors. But because I’m 13, I have to use the actors in my neighborhood.

How do I make great video without ideal actors?

–C”

Casting is a challenge at 13—but it’s also a challenge if you’re doing a marketing video inside a company, or working with a new recording artist on a music video, or on a tight budget or otherwise locked into a small pool of actors.

I guess what I’m saying is that casting is a challenge. But it’s the director’s job to match the needs of the video with the abilities of the actor.

Whether you’re a 13-year old working in the neighborhood or a marketer casting from inside the company, let me suggest a couple of casting tips for when, as the saying goes, “the pickings are slim.”

Audition everyone: You can’t tell what actors can do until you try them out. Give them the script, put them in front of a camera (zoom is fine!) and see how they look doing it. Have someone else do the other parts if there are any. Record what happens. Give your actor a little direction to see how well they get what you’re trying to do and how versatile they are, and let them do it again while you record.

While nobody likes to be rejected, remember that the worst thing you can do to someone is give them a part they’re wrong for. Because they’ll suck. And when themselves suck on video that other people can also watch, they’ll hate you more than they would have if you hadn’t cast them.

By Any Other Name: For middle school (or corporate) politics reasons, you may not want to call these auditions. Instead, you can say you want people to read so you can “put them in the right parts.” True, right? For some the “right part” will be a lead, for others it will be Customer #2 at a table way in the back of the restaurant. Either way, you get to match your available actors to their abilities.

Widen the Pool:  Even if you’re making a feature film, there are always limits to your casting pool—budget, availability, budget or budget to name a few. So why should a middle school video be different?

If you’ve got a videos you’ve already made, use them to recruit. Everyone wants to be in a video if they think it will be good! Try showing your work to your music/drama teacher and see who they know. If you need adult talent try a local college or your parents’ friends.

In a corporate setting, become your own publicist. You can put out company-wide memos, pitch your video at a managers’ meeting, put up signs in the break room—anything to get more bodies to audition.

Rope the Goat: If you’ve auditioned all the people you can find and you’re still short of talent, it’s time to rope the goat.

I shot a commercial with an amateur goat for the late (and possibly future) Anchor Brewing Company—no budget for a lot of training, but all we wanted the goat to do was walk a few steps across the frame. Unfortunately, the goat couldn’t do it. So we put a rope on the goat, gave a brewery employee a carrot, and the goat now had a friend that he walked around with. It wasn’t what we’ve planned, but it worked fine.

If actors can’t remember long speeches, shoot them in tiny bits and cut them together. If they’re wrong for the character you wrote, rewrite a character that fits them. The one thing you can’t do: Throw up your hands and go “Oh well!” Remember that your audience will only see the result—they won’t know you thought an untrained goat could take direction.

Steve Stockman

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Creating a successful video is a series of decisions: why am I making a video? What will it be about? How does it begin and end? Where am I shooting? Who’s in it? And on and on.

A lot of choices, right? You know you’re making your video for an audience—but you can’t stop shooting and poll them about how you should shoot a closeup of your daughter’s face, or where to put the camera in the kitchen of your restaurant. 

But one audience member is always in the house. You can ask… yourself. What choice makes you happy? What choice is more beautiful, or exciting or emotional or intriguing? What will thrill that first audience?

We develop a habit of making great choices by remembering that we’re all we’ve got. We are the first audience. Whether you’re a film director on the set or a real estate agent shooting the interior of a house, the only thing you can do in the moment—the only thing anyone can do—is choose what they prefer. 

You are the one making the video. You’re in charge. For each decision, your first question should be: Do I like that?

As “First Audience Member” you get to drive. To try things. To have fun. To say “I need more” from an interview or to turn the camera in a different direction on a location. The more you own those decisions, the better you get at shooting video.

This is harder than it sounds. Ownership of our creative decisions doesn’t come naturally to most people. We’re not used to publicly saying what we like. We defer to a boss or a committee. We check to see what everyone else thinks first, or how everyone else does it. We worry about what happens if we make something and nobody likes it.

You may not be sure of your abilities yet, but that comes with practice. For now, just know that you are much more like your intended audience than you are different—if you love something, they probably will too.

Will all your decisions be genius? Nope. But I guarantee that if you DON’T like what you’re shooting, nobody else with either. (Plus you’ll be kicking yourself every time you have to watch it again. Not that this has ever happened to me.) 

 

Do you have a burning question? A smoldering question? A question not quite on fire? Ask them all here!

Steve Stockman

I’m interviewing people for an oral history project. I’ve always thought the story should be the most important thing I focus on in my videos. 

Even before reading your book I kept production very simple, mostly because I didn’t and still don’t know everything about the  technical side of video. Reading your book reassured me that I was, for the most part focusing on the right thing. 

But now I hear a lot of people talk about color grading videos.

Should I be worried about color grading? What is it? Is it important?

— Robby

Movies like Wicked (2024) push color grading to magical levels—deep greens, glowing golds, and cool shadows to build an entire world. But for your everyday videos? You might not even need it. Here’s what actually matters more…

Color and light are super important to telling a story in video. Color Grading per se?  Not so much. Color grading, like all video tech, is just a tool to help you make your video look the way you want it to. And with today’s phones and cameras, for most day-to-day video, It’s optional. 

What is Color Grading? 

“Color grading” is the professional term for adjusting the color and lighting of your footage after its been shot and edited. The folks who do it for a living are artists, who use computer programs to paint with light by literally changing the frequency of colors in your finished piece.

They make green leaves orange for autumn, change an actor’s eye color, make a desert scene look hotter, an arctic scene look colder, and save your butt if, say, you overlit a romantic night shot and it looked like crap coming out of the camera. 

Not that this has ever happened to me. 

TV shows, commercials and film projects are almost always color graded to within an inch of their lives. Reality and doc less so—they may simply use the tools in their editing program to touch up here and there. Because dedicated, professional color grading is expensive. 

Many projects go without any formal color grading at all. Here’s why:

Tell me again why I shouldn’t have to worry about it

Smartphones and consumer/pro-sumer cameras have built-in “auto” functions to make your color and lighting look amazing—they’re actually “color-grading” as you shoot. 

These algorithms work hard to save your video from looking awful. Try shooting a badly-lit sunset shot on a new-ish smart-phone. It’s nearly impossible. 

If you like the way your footage looks, Color Grading is optional. If you want to play with it, turn off the auto exposure functions on your camera or phone before you shoot.  Load your footage into your editing program of choice and have at it. If you want to go big, you can download DaVinci Resolve, a free professional (and complicated) color-grading/editing system for your computer. 

What You Should Worry About Instead 

Regardless of whether you color grade, video is garbage in, garbage out—if you shoot ugly stuff, it will still be ugly later. So don’t.

Help your camera’s algorithms give you great looking video by focusing on what’s really important:  make sure your scene has enough light, that you’re on a location that looks great to your eye and through the camera, and that the real-life colors in costumes and make-up work for your video. And worry about all that before you roll.

Then you’ll never have to worry about color grading. It will just be another creative tool if you need it.

 

Do you have a burning question? A smoldering question? A question not quite on fire? Ask them all here!

Steve Stockman

I am a teacher and a coach, and I want to make better videos of high school and gradeschool basketball games.

In your Video Course, you talk about watching a guy shooting a soccer game by panning the camera back and forth and back and forth. Obviously that’s not it (although I felt like you mocked him a bit harshly!) But you didn’t really show us how to do it right!

We are not multiple camera crew people– we are just simple folks. I would like to know how you would shoot video of a high school girls basketball game without your normal 150 person crew.

–John

 

Apologies if my rant made you feel like I was taking you to task. My example was about learning to think in shots. Trying to cover an event by swinging a camera randomly doesn’t  work (and will lead to motion sickness on playback.) If you plan your video in discrete shots, you won’t have that problem.

As you’ve figured out though, for some people shooting short shots creates a different problem: you miss a lot of action.

Before you get to the court, camera in hand, you have a decision to make: Are you documenting or making a documentary?

Documenting an event is what we’re used to seeing as breaking news or a live event TV: we’re on the ground at the giant fire or the football game or the political event. It’s happening right now and our job is to cover the heck out of it.

And here’s a hard truth:

If you only have one camera, you can’t shoot it all. Nobody can– not even me with a crew of 150, a full craft service table and a PA to move my sun-shade. The NBA has 20 cameras pointing at the basketball court for a reason: One camera can’t possibly see everything, everywhere, all at once.

Imagine being close enough to get a fantastic shot of the player shooting a three-pointer– you’ll never be turned around in time to follow the rebound back down the court. If you sit in the bleachers and lock your camera on a wide shot, you might get usable footage for post-game analysis, but it will be really tedious to watch. (Which is why the NBA points 20 cameras at the court.)

Either your goal (shoot everything) or your tech (one camera) have to change. Let’s talk goal first. Instead of trying to document the game, what if you make your video a documentary?

In documentary, we create a story in the edit room based on something that already happened. Whether it’s a concert, or the story of a football team’s season, or Survivor or Supersize Me! the footage has been edited, augmented, re-mixed and rearranged to become a film, a special or a reality show. Each a kind of documentary. And lots of them are shot single camera.

To make a great documentary video with just one camera:

Aim to tell the story of a game rather than document the plays.Shoot tons of great, short shots that might help you tell that story. Say you’re shooting a video about the progress your most-improved players are making. You might shoot them at practice earlier in the week, you might follow them on the bus as the team arrives at the venue, their reactions to the coach’s speech in the locker room, those players running out on the court. And as many amazing plays as you can, worrying more about getting some great action with those players than all the action. Key: Think about a story, shoot whatever you can that relates to it.Add interviews: maybe team members before and after, the other coach, parents. Who can talk about the story?When you’re done with all that shooting, edit. Keep it simple: Lay your shots out in order. Cut the bad ones, then shorten the good ones. Move the interviews around to where you like them.Try to end up with a video that ends before you get tired of it. Any length is fine as long as things stay interesting, but at the start you might aim for 3 minutes or so, just as a radical exercise in keeping it short.

The result? A good, short, entertaining, professional-looking documentary based on the game,but not a document of the game itself.

Alternatively, if you really want to document and do it well– say you’re streaming the game, or it’s a big championship– you’ll have to change your tech. You need more cameras. Fortunately, you don’t need a crew of 150 to do this—just some iPhones and volunteers.

Teach 6 or 8 people how to shoot, give them their “shooting zones”  so they don’t get in each others’ way, and send them out on the court to shoot the entire game. Collect the footage and edit later.

Even easier, use one of the many live-stream apps to help you. I use Switcher Studio to stream our big show at the non-profit performing arts camp I teach at every Summer. Switcher lets you link any number of iPhones to an iPad, which then becomes your studio control, meaning you can cut from camera to camera instantly, just like the NFL. You can live stream, record, or both. (No, I don’t get a commission from this endorsement. Although now that you mention it…)

At Summer Stars we train 8 or 9 volunteers with iPhones to become camera people, link them and go. The result looks like this.

Not quite the Superbowl, but way better than waving your camera back and forth and back and forth…

Steve Stockman

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I’ve been trying to break into screenwriting for a while now, and I think I finally have a solid and original idea to create my first film with. The real issue is I don’t know where to start.

The short film will be non-narrative/abstract, and this is kind of where the first problem resides. I’m used to reading regular movie scripts that have plot and a narrative so I don’t really know how to write and format a film without plot or dialogue. Would I just jot down a few notes and then create a story board?

Also, once I write it, what’s the next step? Casting? Getting in touch with videographers?

I’m new to this whole thing so I’m just trying to get a plan together. Any and all advice is greatly appreciated!

Abstract film and video is not exactly, by definition, mainstream. While it could be an interesting calling card that can launch your career if it comes out well– (see “Eraserhead” by David Lynch) it may also be hard for people to get into (see “Eraserhead” by David Lynch.)

But as a screenwriting demo? Even tougher.

That’s because screenwriting is judged on–wait for it– the writing. More specifically, screenwriters are judged on their ability to put on paper the things you’re trying to avoid: character, dialogue and plot.

A well-made abstract film that relies heavily on mood and amazing visuals shows that the director has filmmaking chops. I mean, look at those images! Amazing! You, as the fledgling screenwriter will probably not get a ton of credit for writing “Int. Apartment – Night The radiator makes scary noises.”

And even if you do, you’ll eventually need to show finished narrative scripts (that is, scripts that tell a story using actors) to get paid screenwriting work.

Will all that said, should you even make this film? Sure! As long as you know what you’re getting into and love the idea. Commitment sells! In the worst case you’ll learn a lot and hopefully have fun. Just recognize that it’s not a straight line from “Look I made this cool abstract short!” to a writing assignment from a production company.

As with any other script, your goal is to get people to understand what they’re seeing on the page. No reason not to use standard screenwriting tools: scenes, locations, descriptions of images and actions. But because you’re going way off the usual path here, I wouldn’t feel like you need to wedge it into a format from a screenwriting book.

Because it’s abstract, you might also do storyboards to accompany the script. You could also do an image board — a version of the script illustrated by frames or sequences you find in others’ work that looks like what you’re trying to do. Or you could use AI to approximate cool abstract stills of your vision.

However you present it, remember that the finished package needs to be clear, well thought out and artful, because that’s the key to getting other people interested in helping you make your film.

Once you’ve got a great package, share it with anyone you know who makes film– videographers sure, but also cast, crew, producers– and see what they say. It doesn’t matter who you start with– what you’re looking for is someone who has the skills you need to join your team and is excited about helping you bring the film to life.

From that point, there are a million ways to get your film done. It really depends on who you meet, and who you can help fall in love with it. By finding like-minded abstract-film-lovers to the project, you bring their expertise and contacts to the table. You’re no longer carrying the burden all alone, and your abstract film will, ideally, take on a momentum all its own.

Steve Stockman

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 I followed the link in my Kindle version of your book and
started going through your story analyses: Hero, Beginning, Middle and End. This is fascinating to me and I want to do better with my nature videos.

I like to go to a place, do a shoot, then a short video like a daily
journal. This one is an example–but it got 17 loads and only five
total plays, which means I need to think better about the Green Pools
as my “hero.”

I look forward to your thought!

–Sandy Brown Jensen

The video looks beautiful, Sandy. Nice shooting.

But you’re right that as a story, it’s lacking. Story needs 4 elements:

a Hero— who is the story about?

A Beginning– where we are now;

A Middle—some challenge or journey;

and an End: What is the result of the journey?

The problem with making a green pool your hero is that it’s essentially unchanging. It doesn’t move. It’s the same beautiful pool when you arrive in the morning as it is midday, as it is when you leave. Which means, at least in this version of your video, there’s no story.

Many have tried to turn scenery into a story. But scenery videos, even stunning drone videos, just don’t pull us in like a story does. Heroes take journeys. The Grand Canyon, as majestic and awe-inspiring as it is, is exactly the same canyon every day for millennia before and millenia to come. It’s not an exciting character.

If scenery isn’t the answer, can we even make nature stories? Luckily you’re not the first to ask this question. Filmmakers have been figuring out to tell nature stories for as long as there have been moving pictures.

Disney and others who make mass-appeal nature video often solve this problem by anthropomorphizing animals, thus giving them a hero—and a story (see March of the Penguins or Planet Earth). So how about one of those pond-fish as a hero? Or a frog? Or dragonfly?

Another time-honored way of putting story in nature video: make yourself the hero. Shoot and narrate your journey into nature. Did you live by the pond for a month like Thoreau? Scale a mountain? Journey to the Antarctic? You can also document someone else’s journey. In either case, nature becomes the setting (or the antagonist) but the story is about your hero’s challenges in visiting this strange world.

If you really want to shoot only nature stuff and have story,  consider time-lapse video. A plant can be your hero if you show its entire life from seed to death—a complete story that might take a minute on-screen, but takes weeks to shoot.

You also have the option of saying “screw all this story stuff” and shoot what you want. You’re the artist! Lovely pictures are no crime—they’re just not story. If you do a non-story video, enjoy! But prepare yourself for what is likely to be less involvement from an audience because there’s no followable tale for them to hang on to.

Steve Stockman

 I get that a good video should have a story. But when I shoot video of my buddies during our bicycle rides, the camera is fixed on the bike facing front or back. Who is the hero? How can I make a video that doesn’t suck?

–Carlo

The “Hero” of any video is the person the story is about. Oppenheimer is about, well, Oppenheimer. And it would be a totally different story if it were called Barbie. So finding the  hero is a pretty important question.  If your video was a movie, whose name would you want to see on the title?

Heroes are not assigned to you. You have to create them (for fiction) or discover them (for documentary.) But the choice of hero is always yours.  Who do you want it to be?

Let’s look at the hero in two imaginary examples from your bike video, Suppose your hero is Emile, who is recovering from a broken leg and may not go the distance. What does the epic video entitled Emile look like?

While the bulk of your shooting might still be from Gopros stuck to a bike, most of your Emile video needs to illuminate the story of Emile and his leg. Your cameras needs to favor Emile and his struggle to get through the trip. Maybe an interview with him or his doctor before and after the ride. Maybe capturing what happens when the road is steep. Maybe staying back with him if the group gets ahead, or watching the group praise him over beers when you’re done.

That’s a very different story than the video called Frank, in which Frank visits from America and rides through the Alps on a bike for the very first time. The Frank video might include an interview with him about his dream and how he saved up. His fears of being in a strange country. Maybe you strap a camera to Frank’s handlebars that shoots just at his face, so when he talks about the scenery, it’s captured separately.  You might shoot him separately at view stops, talking about what he’s seeing and how different it is back home. And drinking with the guys in a pub after, making friends despite his fears. The resulting video will be way different from the video called Emile.

Anyone can be the hero of your video. You, as the director, just have to pick the right person. Who interests you on your trip, and why? What about their story speaks to you? Then ask yourself:

Who’s doing something especially interesting on this trip?What is their struggle or challenge?What can I shoot to show viewers the whole story?How do I prep for those extra elements?What’s a win for my hero at the end of the video? What’s a loss?

The hardest part about finding the hero is realizing that not everyone’s story is interesting enough to turn into a video with their name in the title. Start with the best stories– the ones that excite you the most. As you go through the various members of your bike trip over the years, you’ll get better at finding and telling their stories, and you may even be able to make the less dramatic ones very entertaining.

Steve Stockman

The best Holiday gifts thrill the recipient– but the VERY best also do something for the giver.

In this case, giving the Holiday video shooter in your life a copy of our new video series means fewer awful videos shown to you for the rest of your life. And giving it early means that the rest of your life starts now– before you have to wade through more awful Holiday videos.

It’s all streaming, so sure, you can technically give it until 20 seconds before your special person wakes up Christmas morning. But why not start now, so they can watch it before they shoot again?

Here’s the very VERY best part: You can play the lesson attached to this post for free– no signup necessary. You’ll be able to check out the course, get 10 tips on how to shoot Holiday video that doesn’t suck, AND get better Holiday video to watch later! It’s a win-win-win. That’s a lot of winning.

Steve Stockman

 

For years I’ve been getting emails asking when I would make How to Shoot Video that Doesn’t Suck into a video course. Which I resisted, mostly because it’s a lot of work. I figured I wrote the book, right? My job was done.

But as video became even more popular, I noticed that most of the information about it on the internet was about equipment, or SEO, or jacking the YouTube/Facebook/TikTok algorithm– or bot-created “listicles” that were just plain wrong. There wasn’t– and still isn’t– much on how to shoot interesting, intriguing, audience-focused video.

I also heard from people who explained that they don’t learn best from a book. Who really wanted to see some of the ideas in action. Like, you know, on video. So when a production window presented itself this year, I went for it.

But with the dedicated help of some 40 other people, I’ve been working on this project since March, writing, and refining, and budgeting and planning, shooting and editing. 

You would think adapting your own book into two and a half hours of video would be easier than, say, writing a feature film script. But it isn’t. Especially if you’re writing a course on how to shoot great video—because you know if you screw something up in YOUR video, you’re going to hear about it.

But we made it. As all videographers know, creating is a huge pain. But having created is the best thing in the world. Now I get to send the course out into the universe and talk about it on podcasts.

It’s called How to Shoot Video that Doesn’t Suck: The Video Course.

It’s filled with lessons from what, to my continued surprise, is the world’s best-selling how-to video book. It also has a whole bunch of ideas I’ve thought about since writing the book, so even if you’ve got that memorized there’s still a lot that’s new.

This is NOT a course about SEO, likes, lenses, pixels or algorithms. It’s a course about how to think about how to shoot. It’s for anyone who wants to shoot video for other people to watch—from parents of cute kids, to video marketers, to budding directors, to journalists, organizations and wedding photographers. 

It features 22 lessons, hundreds of tips and a whole bunch of exercises. Try one lesson and your video will improve instantly. Try them all, and you’ll be shooting great video that people will WANT to watch. 

Check out the course preview, watch a free lesson, and start making your videos better today!

And for a limited time, just for trying  the course we’ll send you a free Kindle copy of How to Shoot Video that Doesn’t Suck, a book Steven Pressfield called “Two years of Film School in 248 pages”. Even if you return the course, the book is yours to keep. 

I really hope you like it—and that you’ll let me know. If you have questions or comments, drop them here or on the course page.

And thanks for checking it out!

Steve Stockman